$12.99


BLACK RAIN Japan ORIGINAL Gigantic Huge Impressive Foreign MOVIE POSTER is an ORIGINAL item from this film's releasemeasuring 47" x 63" and folded. It is in VERY FINE (un-used) CONDITION, slight edgewear and in folds. small writing on the back This is an original poster that is over 20 years old. it was used to promote the 1989 Japanese War Drama Horror motion picture,

Kuroi ame a

ka BLACK RAIN

Screenplay by & Director: Shohei Imamura

Based on the novel by Masuji Ibuse

The story of the aftermath of the Hiroshima bombing, based on Masuji Ibuse's novel.

Mr and Mrs Shizuma, and their niece Yasuko, make their way through the ruins of Hiroshima, just after the atomic bomb has dropped. Five years later, Yasuko is living with her aunt and uncle, and her senile grandmother, in a village containing many of the bomb survivors. Yasuko does not appear to be affected by the bomb, but the Shizuma's are worried about her marriage prospects, as she could succumb to radiation sickness at any time.

Brilliant, frightening and sobering, all at once.

The entire cast included:

Yoshiko Tanaka ... Yasuko
Kazuo Kitamura ... Shigematsu Shizuma
Etsuko Ichihara ... Shigeko Shizuma
Shoichi Ozawa ... Shokichi
Norihei Miki ... Kotaro
Keisuke Ishida ... Yuichi
Hisako Hara ... Kin
Masato Yamada ... Tatsu
Tamaki Sawa ... Woman in Ikemoto-ya
Akiji Kobayashi ... Katayama
Kazuko Shirakawa ... Old Woman with white flag
Kenjiro Ishimaru ... Aono
Mayumi Tateichi ... Fumiko of Ikemoto-ya
Taiji Tonoyama ... The Old Priest
Fujio Tokita ... 40 Year Old Woman with burns

Poster is in good shape for it's age, light edge wear ,

This poster is part of our in-store inventory from our shop which is located in the heart of Hollywood where we have been in business for the past 40 years! A Fantastic Find for the TRUE Foriegn Movie Poster Collector.

Shohei Imamura's films dig beneath the surface of Japanese society to reveal a wellspring of sensual, often irrational, energy that lies beneath. Along with his colleagues Nagisa Oshima and Masahiro Shinoda, Imamura began his serious directorial career as a member of the New Wave movement in Japan. Reacting against the studio system, and particularly against the style of Yasujiro Ozu, the director he first assisted, Imamura moved away from the subtlety and understated nature of the classical masters to a celebration of the primitive and spontaneous aspects of Japanese life. To explore this level of Japanese consciousness, Imamura focuses on the lower classes, with characters who range from bovine housewives to shamans, and from producers of blue movies to troupes of third-rate traveling actors. He has proven himself unafraid to explore themes usually considered taboo, particularly those of incest and superstition. Imamura himself was not born into the kind of lower-class society he depicts. The college-educated son of a physician, he was drawn toward film, and particularly toward the kinds of films he would eventually make, by his love of the avant-garde theater. Imamura has worked as a documentarist, recording the statements of Japanese who remained in other parts of Asia after the end of WWII, and of the "karayuki-san"--Japanese women sent to accompany the army as prostitutes during the war period. His heroines tend to be remarkably strong and resilient, able to outlast, and even to combat, the exploitative situations in which they find themselves. This is a stance that would have seemed impossible for the long-suffering heroines of classical Japanese films. In 1983, Imamura won the Grand Prix at the Cannes Film Festival for Narayama bushiko (1983), based on a Shichir? Fukazawa novel about a village where the elderly are abandoned on a sacred mountaintop to die. Unlike director Keisuke Kinoshita's earlier version of the same story, Imamura's film, shot on location in a remote mountain village, highlights the more disturbing aspects of the tale through its harsh realism. In his attempt to capture what is real in Japanese society, and what it means to be Japanese, Imamura used an actual 40-year-old former prostitute in his Nippon konchuki (1963); a woman who was searching for her missing fianc? in Ningen Johatsu (1967); and a non-actress bar hostess as the protagonist of his Nippon Sengoshi - Madamu onboro no Seikatsu (1970). Despite this anthropological bent, Imamura has cleverly mixed the real with the fictional, even within what seems to be a documentary. This is most notable in his Ningen Johatsu (1967), in which the fianc?e becomes more interested in an actor playing in the film than with her missing lover. In a time when the word "Japanese" is often considered synonymous with "coldly efficient," Imamura's vision of a more robust and intuitive Japanese character adds an especially welcome cinematic dimension.

This item is part of our in-store inventory from our shop which is located in the heart of Hollywood where we have been in business for the past 40 years!

BLACK RAIN Pluie Noire Kuroi ame FOREIGN Japan POSTER
Item #BMM0001409